Search results for 'Film' (try it on Scholar)

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Bibliography: Film and Television in Arts and Humanities
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  1.  40
    Robert Hopkins (forthcoming). Realism in Film (and Other Representations). In Katherine Thomson-Jones (ed.), Current Controversies in the Philosophy of Film. Routledge
    What is it for a film to be realistic? Of the many answers that have been proposed, I review five: that it is accurate and precise; that is has relatively few prominent formal features; that it is illusionistic; that it is transparent; and that, while plainly a moving picture, it looks to be a photographic recording, not of the actors and sets in fact filmed, but of the events narrated. The number and variety of these options raise a deeper (...)
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  2.  23
    Andreas Dorschel (2005). Was hat Musik im Film zu suchen? In Tonspuren. Musik im Film: Fallstudien 1994 - 2001. Universal Edition 12-21.
    Attempts to bestow a musical background upon spoken drama have been deemed widely superfluous; most films, by way of contrast, do employ music. This aesthetic divergence invites an account of film music in terms of lack and compensation. The standard account in such terms, viz. that music has to fill the vacuum of silence, does not explain what it is supposed to explain. Rather, music in cinema can restore in a different way the expression lost as reality is reduced (...)
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  3.  10
    Robert Sinnerbrink (2014). Cavellian Meditations: How to Do Things with Film and Philosophy. Film-Philosophy 18 (1):50-69.
    Stanley Cavell's writing on film has been an important inspiration for the recent 'philosophical turn' in film theory. But few studies have explored the significance of Cavell's style of writing, how it communicates his distinctive manner of thinking with film. This article explores Cavell's style as a way of doing philosophy, and suggests that his attempt to capture the aesthetic experience of film in evocative prose makes an important contribution to developing new ways of thinking in (...)
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  4.  59
    Aaron Smuts (2003). Film Theory Meets Video Games: An Analysis of the Issues and Methodologies in 'ScreenPlay'. [REVIEW] Film-Philosophy 7 (54).
    "ScreenPlay" is the first collection of essays devoted to exploring the relationship between cinema and video games. It attempts to introduce the field of video game studies while also increasing our understanding of the two artforms. Although not all of the essays are models of clear thinking on the subject, the volume will be a valuable resource for those working in film, philosophy, new media, and video game studies. Geoff King and Tanya Krzywinska have brought together a diverse collection (...)
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  5.  12
    David Martin-Jones (2010). What is Film-Philosophy? Round Table. Film-Philosophy 14 (1):81 mins.
    Held on Monday 12th October 2009, 5.30 - 7.00 pm, University of St Andrews, Scotland. Participants Dr Robert Sinnerbrink (Philosophy, Macquarie University, Sydney, Australia) Dr John Mullarkey (Philosophy, University of Dundee) Professor Berys Gaut (Philosophy, University of St Andrews) Dr David Martin-Jones (Film Studies, University of St Andrews) Dr William Brown (Film Studies, University of St Andrews)Over the course of at least the last hundred years the intellectual study of cinema has experienced a number of shifts towards and (...)
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  6. Shawn Loht (2013). Film as Heideggerian Art? A Reassessment of Heidegger, Film, and His Connection to Terrence Malick. Film and Philosophy 17:113-36.
    Proposes a shift in thinking about the connection of Malick's filmmaking and the philosophy of Heidegger. My approach considers Heidegger's philosophy of art in order to develop some outlines of a Heideggerian philosophy of film. I also consider some aspects of Terrence Malick's films viewed as exemplar instances of the philosophical theory of film Heidegger's work can support.
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  7. Noel Carroll (1996). Prospects for Film Theory: A Personal Assessment. In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. University of Wisconsin Press
    Theory appears to have played the ideological-institutional role of enfranchiser, even if the role was ulti-mately an epiphenomenal one. Furthermore, the expectation of gold in "them thar hills" also encouraged too many university presses to invest in film publications, especially when the arcane peregrinations of Theory facilitated their rationalization of their relaxation of their traditional role as academic gatekeepers. Hence film studies has been flooded with repetitive decoctions of the Theory in search of the same market in much (...)
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  8.  7
    Paula Quigley (2011). Undoing the Image: Film Theory and Psychoanalysis. Film-Philosophy 15 (1):13-32.
    The primary aim of this article is to point up an essential attitude, an anxiety even, that has inflected – and perhaps inhibited - our engagement with film. Film theory has been marked by a ‘refusal to see, a looking away’ (Mulvey & Wollen 1976, 36), and my suggestion is that this has achieved its fullest expression in those strands of film theory heavily influenced by psychoanalysis. These, in turn, have remained within a gendered conceptual framework whereby (...)
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  9.  8
    Keith Dromm (2013). The Facts Before Our Eyes: Wittgenstein and the Film Noir Investigator. Film-Philosophy 17 (1):1-18.
    This paper discusses the methods of the investigators in film noir. They are different than those employed by the classic detective of mystery and crime fiction, which involve observation, the collection of clues, logical inference, and are generally modeled on the methods of the scientist. I illuminate the methods of the noir investigator by comparing them to those applied by Ludwig Wittgenstein to philosophical problems. Both the noir investigator and Wittgenstein deal with problems that are intractable to the methods (...)
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  10.  5
    Ben Tyrer (2013). Film Noir as Point de Capiton : Double Indemnity , Structure and Temporality. Film-Philosophy 17 (1):96-114.
    Reading noir and Lacan together can establish a structural corollary between the function of the signifier 'noir' in film criticism and the retroactive function of the point de capiton in Lacan's theory of language. Furthermore, at a narrative level, the function of the point de capiton can also be found in the retroactive constructions of film noir flashbacks. It is therefore possible to say that a retroactive 'noir temporality' is also the temporality of the Symbolic order. This article (...)
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  11. Shawn Loht (forthcoming). The Relevance of Heidegger's Conception of Philosophy for the Film-as-Philosophy Debate. Film and Philosophy 19.
    Provides an account of philosophy adopted from Being and Time and later works of Heidegger in order to respond to key questions in the film-as-philosophy debate. I follow the school of Stanley Cavell, Robert Sinnerbrink, and Stephen Mulhall in the view that philosophy occurs in film in phenomenological ways that transcend mere argumentative discourse and logical analysis. Some of the views I counter include those of Bruce Russell and Paisley Livingston.
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  12. Sherman A. Lee, Jeffrey A. Gibbons & Stephen D. Short (2010). Sympathetic Reactions to the Bait Dog in a Film of Dog Fighting: The Influence of Personality and Gender. Society and Animals 18 (2):107-125.
    Media sources brought international attention to dog fighting during the Michael Vick case. Although a significant number of people who watched footage of the abused dogs used in the Vick case may have felt sympathy for them, the characteristics associated with those types of individuals are not known. The current study examined personality and gender as predictors of sympathetic reactions to the mistreatment of a bait dog depicted in a film clip. The results supported the predictions that animal-oriented sympathy, (...)
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  13.  38
    Stephen D. Short, Jeffrey A. Gibbons & Sherman A. Lee (2010). Sympathetic Reactions to the Bait Dog in a Film of Dog Fighting: The Influence of Personality and Gender. Society and Animals 18 (2):107-125.
    Media sources brought international attention to dog fighting during the Michael Vick case. Although a significant number of people who watched footage of the abused dogs used in the Vick case may have felt sympathy for them, the characteristics associated with those types of individuals are not known. The current study examined personality and gender as predictors of sympathetic reactions to the mistreatment of a bait dog depicted in a film clip. The results supported the predictions that animal-oriented sympathy, (...)
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  14.  12
    Joseph P. Magliano & Jeffrey M. Zacks (2011). The Impact of Continuity Editing in Narrative Film on Event Segmentation. Cognitive Science 35 (8):1489-1517.
    Filmmakers use continuity editing to engender a sense of situational continuity or discontinuity at editing boundaries. The goal of this study was to assess the impact of continuity editing on how people perceive the structure of events in a narrative film and to identify brain networks that are associated with the processing of different types of continuity editing boundaries. Participants viewed a commercially produced film and segmented it into meaningful events, while brain activity was recorded with functional magnetic (...)
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  15.  28
    Robert van Es (2003). Inside and Outside the Insider: A Film Workshop in Practical Ethics. [REVIEW] Journal of Business Ethics 48 (1):89-97.
    The film The Insider offers an interesting story of leaking inside information by one character and clear whistleblowing by another. In both cases moral considerations are involved on a personal, professional, organizational and public level. As such the film can be used as an inviting cinematic introduction to applied or practical ethics. Three models of practical ethics are introduced. In the film workshop these models are the framework for the film analysis. A set up of the (...)
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  16.  51
    George M. Wilson (2007). Elusive Narrators in Literature and Film. Philosophical Studies 135 (1):73 - 88.
    It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of (...)
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  17.  12
    Jesús Alcolea-Banegas (2009). Visual Arguments in Film. Argumentation 23 (2):259-275.
    Our aim is to point out some differences between verbal and visual arguments, promoting the rhetorical perspective of argumentation beyond the relevance of logic and pragmatics. In our view, if it is to be rational and successful, film as (visual) argumentation must be addressed to spectators who hold informed beliefs about the theme watched on the screen and the medium’s constraints and conventions. In our reflections to follow, we apply rhetorical analysis to film as a symbolic, human, and (...)
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  18. Robert Hopkins (2008). What Do We See in Film? Journal of Aesthetics and Art Criticism 66 (2):149–159.
    Many films are made by a two-tier process: the photographing of events which themselves represent the story the film tells. The latter representation is often illusionistic. I explore two consequences. The first concerns what we see in film. I argue that we sometimes see in such films, not events representing the story told, but simply the events composing that story. The way is thereby opened to a unified aesthetic of film, whether made the two-tier way or not. (...)
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  19.  2
    Gloria Galindo (2016). David Martin-Jones and William Brown Deleuze and Film, Edinburgh: Edinburgh University Press. 248 Pp. Film-Philosophy 19.
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  20.  2
    Agnieszka Piotrowska (2016). Sarah Cooper The Soul of Film Theory, London: Palgrave. 224 Pp. Film-Philosophy 19.
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  21.  2
    Iclal Alev Degim (2016). Teresa Rizzo Deleuze and Film: A Feminist Introduction, Continuum. Film-Philosophy 19.
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  22. Tom McClelland (2011). The Philosophy of Film and Film as Philosophy. Cinema 2:11-35.
    This paper explores the idea that popular narrative film can somehow contribute to our philosophical understanding. I identify a number of problems with this 'film as philosophy' thesis and argue that the capacity of film to contribute to philosophy is not as great as many authors think. Specifically, I argue that film can only offer genuinely distinctive insights into philosophical questions *about film* and explore Hitchcock's Rear Window as an example of this.
     
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  23.  5
    Chloe Jane Benson (2015). Fabio Vighi Critical Theory and Film: Rethinking Ideology Through Film Noir. Film-Philosophy 19.
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  24.  5
    Aimee Mollaghan (2015). Akira Mizuta Lippit Ex-Cinema: From a Theory of Experimental Film and Video. Film-Philosophy 19.
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  25. Margrethe Bruun Vaage (2009). Self-Reflection: Beyond Conventional Fiction Film Engagement. Nordicom Review 30:159-178.
    Idiosyncratic responses as more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that (...)
     
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  26.  4
    Maud Ceuterick (2015). Neil Archer The French Road Movie: Space, Mobility, Identity Michael Gott and Thibaut Schist, Eds. Open Road, Closed Borders: The Contemporary French-Language Road Movie. Film-Philosophy 19.
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  27.  4
    Katherine Blakeney (2015). Eve Golden John Gilbert: The Last of the Silent Film Stars. Film-Philosophy 19.
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  28.  2
    Alejandro Torres Vergara (2015). Literary Film Adaptation for Screen Production: The Analysis of Style Adaptation in the Film Naked Lunch From a Quantitative and Descriptive Perspective. Logos: Revista de Lingüística, Filosofía y Literatura 25 (2):154-164.
    The study of film adaptations, particularly those coming from literature, has been growing at a rapid rate during the last years due to the amount of adaptations coming from both mainstream and independent film industries. The focus of these studies though is generally addressed to best sellers where the literary style is clearly adaptable to the screen; however, there are cases where the adaptive process has resulted in an entirely different outcome. Naked Lunch, written by William Burroughs and (...)
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  29.  12
    John Bleasdale (2010). Venice Film Festival 2009: Survival of the Fittest. Film-Philosophy 14 (1):274-286.
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  30.  2
    Matilda Mroz (2015). Marek Haltof Polish Film and the Holocaust: Politics and Memory. Film-Philosophy 19.
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  31.  11
    John Bleasdale (2009). Now Wait for Last Year: A Report From the 65th Venice International Film Festival 2008. Film-Philosophy 13 (1):91-98.
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  32.  22
    Christy Mag Uidhir (2012). The Aesthetics of Actor-Character Race Matching in Film Fictions. Philosophers' Imprint 12 (3).
    Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...)
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  33.  2
    Martha P. Nochimson (2009). New York Film Festival 2008 - Part I: Of Time, Memory, and the 'I'. Film-Philosophy 13 (1):99-111.
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  34.  19
    Christy Mag Uidhir (2012). The Aesthetics of Actor-Character Race Matching in Film Fictions. Philosophers' Imprint 12 (3).
    Marguerite Clark as Topsy in Uncle Tom’s Cabin (1918). Charlton Heston as Ramon Miguel Vargas in Touch of Evil (1958). Mizuo Peck as Sacagawea in Night at the Museum (2006). From the early days of cinema to its classic-era through to the contemporary Hollywood age, the history of cinema is replete with films in which the racial (or ethnic) background of a principal character does not match the background of the actor or actress portraying that character. I call this actor-character (...)
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  35. Nancy Bauer (2005). Cogito Ergo Film: Plato, Descartes, and Fight Club. In Rupert Read & Jerry Goodenough (eds.), Film as Philosophy: Essays on Cinema After Wittgenstein and Cavell. Palgrave Macmillan
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  36.  1
    Andrea Werner (2013). 'Margin Call': Using Film to Explore Behavioural Aspects of the Financial Crisis. Journal of Business Ethics 122 (4):1-12.
    The aim of this article is to show how the critically acclaimed and award winning film Margin Call may be used in business ethics teaching. Set in a fictional investment bank at the dawn of the financial crisis, the film zooms in on the motivations and decision-making of people who had much to lose from the crash of the hitherto very profitable mortgage-backed securities market. The film offers rich material for analysis of behaviours that contributed to the (...)
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  37.  3
    Adriano D'Aloia (2010). Francesco Casetti (2008) Eye of the Century: Film, Experience, Modernity. Film-Philosophy 14 (2):181-190.
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  38.  3
    Sheryl Tuttle Ross (2013). Sharon Lin Tay (2009) Women on the Edge: Twelve Political Film Practices. Film-Philosophy 17 (1):487-492.
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  39.  5
    Douglas Morrey (2012). To Describe a Labyrinth: Dialectics in Jacques Rivette's Film Theory and Film Practice. Film-Philosophy 16 (1):30-54.
    This article will explore and explain the use of dialectics in Rivette’sfilm criticism through close reading of a number of his most intriguingarticles before going on to see what place these same concepts andstructures have in Rivette’s own debut feature Paris nous appartient ,whose lengthy gestation and tortuous production accompanied much of thisfilm writing.
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  40.  6
    Aaron Smuts (2003). Multiple Inheritance and Film Identity: A Reply to Dilworth. Contemporary Aesthetics 1:1-3.
    I argue that Dilworth has not shown the type / token theory of film identity to be non-viable, since there is no reason to think that a single object cannot be a token of two types. Even if we assume a single inheritance view of types, Dilworth's argument runs into other problems. Dilworth does not provide any convincing argument as to why intentions are necessary for identifying film and why production history alone will not suffice for identifying hardly (...)
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  41.  1
    Martha P. Nochimson (2010). New York Film Festival 2009: Gimme Provocation. Film-Philosophy 14 (1):287-302.
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  42.  1
    Martha P. Nochimson (2009). New York Film Festival 2008 - Part II: Of Now, Passion, and the 'We'. Film-Philosophy 13 (1):112-123.
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  43.  7
    Saër Maty Bâ & Will Higbee (eds.) (2012). De-Westernizing Film Studies. Routledge.
    The book combines a series of chapters considering a range of responses to the idea of 'de-westernizing' film studies with a series of in-depth interviews with filmmakers, scholars and critics.
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  44. Warren Buckland (2012). Film Theory: Rational Reconstructions. Routledge.
    Introduction -- An improbable alliance : Peter Wollen's "The auteur theory" -- Visual stylometry : Barry Salt's "Statistical style analysis of motion pictures" -- Between Shakespeare and Sirk : Thomas Elsaesser's "Tales of sound and fury: observations on the family melodrama" -- From iconicity to semiotic articulation : Christian Metz's "cinema: language or language system?" and language and cinema -- Film as a specific signifying practice : Stephen Heath's "On screen, in frame: film and ideology" -- Against theories (...)
     
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  45.  37
    Paul Coates (1994). Film at the Intersection of High and Mass Culture. Cambridge University Press.
    At the Intersection of High and Mass Culture analyses the contradictions and interaction between high and low art, with particular reference to Hollywood and European cinema. Written in the essayist, speculative tradition of Walter Benjamin and Theodore Adorno, this study also includes analyses of several key films of the 1980s. Tracing the boundaries of such genres as film noir, science fiction and melodrama, it demonstrates how these genres were radically expanded by such filmmakers as Neil Jordan, Chris Merker and (...)
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  46.  36
    Felicity Colman (ed.) (2009). Film, Theory and Philosophy: The Key Thinkers. Acumen.
    Philosophy, and in particular continental philosophy, has provided a conceptual underpinning for cinema since its beginnings, especially in the development of cinematic aesthetics. In its turn, film has rethought the abstractions of space and time and the categories of sex and gender and has created new concepts which illuminate phenomenology, metaphysics and epistemology. -/- Film, Theory and Philosophy brings together leading scholars to provide a detailed overview of the key thinkers who have shaped the field of film (...)
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  47.  43
    Mark T. Conard & Robert Porfirio (eds.) (2006/2007). The Philosophy of Film Noir. University Press of Kentucky.
    The Philosophy of Film Noir explores philosophical themes and ideas inherent in classic noir and neo-noir films, establishing connections to diverse thinkers ...
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  48.  44
    Richard A. Fumerton & Diane Jeske (eds.) (2010). Introducing Philosophy Through Film: Key Texts, Discussion, and Film Selections. Wiley-Blackwell.
    "Introducing Philosophy Through Film" combines this novel pedagogical approach with all the virtues of a serious introductory anthology of classical and ...
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  49.  4
    Michael D. Gose (2006). Getting Reel: A Social Science Perspective on Film. Cambria Press.
    This book is an easy-to-read, fun and provocative discussion of how to understand, appreciate, and evaluate film. Written by professor and film guru Michael Gose, the book is loved by students and moviegoers alike.
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  50. Elspeth Kydd (2011). The Critical Practice of Film: An Introduction. Palgrave Macmillan.
    Machine generated contents note: -- PART I: CRITICAL PRACTICE -- The Critical Practice of Film -- PART II: FILM FORM -- Narrative Film -- Documentary Film -- PART III: TECHNIQUES OF FILM -- Cinematography -- Mise-en-Scène -- Sound -- Editing -- Music -- PART IV: ANALYSIS AND CRITICAL PRACTICE -- Interpretation and Analysis of Film -- Critical Practice in Action.
     
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